Philharmonia Baroque | Akateeminen Kirjakauppa

Gramophone Magazine
September 2020
Editor's Choice

Avery Amereau (contralto)

Philharmonia Baroque Orchestra, Nicholas McGegan

Benchè tuoni e l’etra avvampi (from Aci, Galatea e Polifemo)
Otton, qual portentoso fulmine e` questi (from Agrippina)
Voi, che udite il mio lamento (from Agrippina)
Cara sposa (from Rinaldo)
Venti turbini (Rinaldo)
Or la tromba (Rinaldo)
Senti, bell'idol mio (from Silla)
Con tromba guerriera (from Silla)
E` si dolce il mio contento (from Amadigi di Gaula)
O rendetemi il mio bene (from Amadigi)
Sussurate (from Amadigi)
Già che morir non posso (from Radamisto)
Priva son d'ogni conforto (from Giulio Cesare)
Dall'ondoso periglio (from Giulio Cesare)
Verdi prati (from Alcina)

George Frideric Handel lavished particular attention on the contralto or mezzo-soprano roles in his operas and oratorios throughout the years. What better way to celebrate the lush arias that Handel composed for his contralto stars than with Avery Amereau—described by The New York Times as "an extraordinary American alto on the rise"—alongside Handelian scholar Nicholas McGegan and Philharmonia Baroque Orchestra. Featuring virtuosic, passionate, stirring arias throughout Handel's composing career—from his early Aci, Galatea e Polifemo (1708) to his later Alcina (1735)—this recording brings to life the incredible music once sung by Nicolini, Senesino, and Carestini. This debut album by Amereau marks the last recording of Nicholas McGegan at the helm of PBO.

"Her burnt umber tones – smoothly produced, never forced – are a pleasure in themselves. Beyond this, she brings to each of these Handel arias, mostly written for castrato, abundant musical intelligence and a specific sense of character...Amereau sets the seal on a more than promising debut recital with a true and tender performance of Ruggiero’s ‘Verdi prati’ (Alcina), subtly shading the vocal line and delicately ornamenting the refrain on repeats." - Gramophone Magazine, September 2020.